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'J-1882X' is made up of 7 layers of 2K automotive paint on 2mm aluminium plate, which upon curing, has undergone a process of slow attrition to the point where the substrate itself is revealed. The very top layer is hand mixed by the artist and professionally scanned to give us the work's code/title. The work is unvarnished but the industrial process and the very nature of the materials used create a mirror-like finish, which also means the work can also be displayed outdoors. The piece does not require framing and hangs directly on a floating 2 cm aluminium support mount.


Artist Statement:

"We're surrounded by intentional surface duplicity; whether it's a chipboard work surface disguised as marble, a painting so meticulously executed that we perceive it as a photograph, or even a spray tan. ‘Mechanical Erosion’ is a series of work exploring and exploiting the fundamental ingenuous nature of the materials from which they’re produced.

Car paint is applied methodically in several layers onto aluminium plate, after which the crust of the surface is removed using fine abrasives and water. These gradually deepening channels dictate the direction of the subsequent excavations and inevitably the path of the shallow canyons carved throughout.

Having as much to do with removal as they do application, these works sit in between both sculpture and painting traditions. Not only can the aluminium substrate be seen, but its relationship with the medium it supports becomes apparent, emerging as crucial element of the work itself.

Each piece is created through a perpetual looped expression of feedback between the artist and materials; something which continues for the viewer as we are actively encouraged to engage directly with the works, both visually and physically through touch. These fluid, lustrous results belie the brutal industrial means of their formation."
'J-1882X' is made up of 7 layers of 2K automotive paint on 2mm aluminium plate, which upon curing, has undergone a process of slow attrition to the point where the substrate itself is revealed. The very top layer is hand mixed by the artist and professionally scanned to give us the work's code/title. The work is unvarnished but the industrial process and the very nature of the materials used create a mirror-like finish, which also means the work can also be displayed outdoors. The piece does not require framing and hangs directly on a floating 2 cm aluminium support mount.


Artist Statement:

"We're surrounded by intentional surface duplicity; whether it's a chipboard work surface disguised as marble, a painting so meticulously executed that we perceive it as a photograph, or even a spray tan. ‘Mechanical Erosion’ is a series of work exploring and exploiting the fundamental ingenuous nature of the materials from which they’re produced.

Car paint is applied methodically in several layers onto aluminium plate, after which the crust of the surface is removed using fine abrasives and water. These gradually deepening channels dictate the direction of the subsequent excavations and inevitably the path of the shallow canyons carved throughout.

Having as much to do with removal as they do application, these works sit in between both sculpture and painting traditions. Not only can the aluminium substrate be seen, but its relationship with the medium it supports becomes apparent, emerging as crucial element of the work itself.

Each piece is created through a perpetual looped expression of feedback between the artist and materials; something which continues for the viewer as we are actively encouraged to engage directly with the works, both visually and physically through touch. These fluid, lustrous results belie the brutal industrial means of their formation."
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J-1882X Painting

Tom Fellows

Turkey

Painting, Spray Paint on Aluminium

Size: 31.5 W x 49.2 H x 0.8 D in

Ships in a Crate

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SOLD
Originally listed for $2,475
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About The Artwork

'J-1882X' is made up of 7 layers of 2K automotive paint on 2mm aluminium plate, which upon curing, has undergone a process of slow attrition to the point where the substrate itself is revealed. The very top layer is hand mixed by the artist and professionally scanned to give us the work's code/title. The work is unvarnished but the industrial process and the very nature of the materials used create a mirror-like finish, which also means the work can also be displayed outdoors. The piece does not require framing and hangs directly on a floating 2 cm aluminium support mount. Artist Statement: "We're surrounded by intentional surface duplicity; whether it's a chipboard work surface disguised as marble, a painting so meticulously executed that we perceive it as a photograph, or even a spray tan. ‘Mechanical Erosion’ is a series of work exploring and exploiting the fundamental ingenuous nature of the materials from which they’re produced. Car paint is applied methodically in several layers onto aluminium plate, after which the crust of the surface is removed using fine abrasives and water. These gradually deepening channels dictate the direction of the subsequent excavations and inevitably the path of the shallow canyons carved throughout. Having as much to do with removal as they do application, these works sit in between both sculpture and painting traditions. Not only can the aluminium substrate be seen, but its relationship with the medium it supports becomes apparent, emerging as crucial element of the work itself. Each piece is created through a perpetual looped expression of feedback between the artist and materials; something which continues for the viewer as we are actively encouraged to engage directly with the works, both visually and physically through touch. These fluid, lustrous results belie the brutal industrial means of their formation."

Details & Dimensions

Painting:Spray Paint on Aluminium

Original:One-of-a-kind Artwork

Size:31.5 W x 49.2 H x 0.8 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Lives and works in Istanbul. His work engages with the surface of material; its fundamental form, its inherent qualities, its relationship with others in context, and assumptions we make through previous experiences or sentiments held.

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